Digital technology introduces a proprietarily unique set of attributes to
the creative process. Black and white has its own peculiarities to master.
The advent of high-tech digital scanning and printing devices, advances in
ink technology and papers coated for digital reproduction, sophisticated RIP,
(raster image processing) and editing software have only recently made
possible the production of 360-degree images and greater, from medium
format negatives up to 20 or more inches.
     The digital file presents the entire 360-degree image in a single, viewable,
working environment, altogether impossible using conventional enlarging
equipment. The spatial and tonal relationships in landscape photography of
this magnitude are tremendous. Quite literally there is more that meets the
eye. Each print requires the same masking dodging and burning used in
conventional darkroom printing to make sense of this range as it changes
from one area of light to the next. The difference lies in working with a
range of tones and relationships, spread over 360-degrees, significantly
compressed at the start by an inherently flat drum scanning process.
     Working to produce one of these images is only a bit similar to working
on 6 to 18 images at one time in a conventional manner with a prerequisite
they work in a seamless and contiguous manner.
     The precision of digital tools and the sophistication of the printing
process are equal to the task and aptly suited for for the conveyance of the
relationships brought together in a single 360-degree scene and to bring my
perceptions from negative to print.